The 2022 Annual Conference will take place in-person over three days from 6 - 8 April 2022. There will be up to 36 live parallel sessions with 4, 6 or 8 papers delivered in each session. There will be multiple sessions taking place each day.

Session Timetables will be available for downloading nearer the event.


Aesthetics and Politics of Sustainability (Anna-Rosja Haveman)

The Artist’s Friend (Jamin An & Anne Rana)

Born from the Margins: Women Gallerists Creating New Markets, 1800-1990 (Caterina Tosch & Veronique Chagnon-Burke)

The Carrier Bag Theory of Art History: experimental writing in, on and alongside feminist and queer art (Bridget Crone & Catherine Grant)

Collective Craft in Global Contexts (Valéria Fülöp-Pochon & Courtney Schum)

Collectives, Art and Neoliberalism (Kim Charnley & Louisa Lee)

Crafting Medieval Spain: the Torrijos ceilings in context (Mariam Rosser-Owen & Anna McSweeney)

Critical Explorations of Nordic Art and Vitalism (Tonje Haugland Sørensen & MaryClaire Pappas)

Critical Perspectives on Disability in Art and Visual Culture (Lynn M. Somers)

Decolonisation and Eastern European Art (Dorota Jagoda Michalska & Marta Zboralska)

The Deferred Image: Rethinking Photography’s Temporalities (Justin Carville)

Digital Amateurism and the Platformisation of Art (Yvonne Schweizer & Annette Urban)

Empathy and Art (Susan Barahal & Elizabeth Pugliano)

Eyes on the street: art and policing (Fiona Anderson & Al Hoyos-Twomey)

Faces across Time and Space: Portraiture and Intermediality in Europe and East Asia (Yizhou Wang & Luis Alcalá-Galiano)

Global Anatomies (Keren Hammerschlag & Natasha Ruiz-Gómez)

History and memory: the contemporary artist as archivist (Deborah Schultz & Sian Vaughan)

How New York Lost the Idea of (Post)Modern Art (Oliver O’Donnell & Chloe Julius)

Identifying the Disoeuvre: artistic labour beyond the oeuvre (Felicity Allen, Althea Greenan, Janice Cheddie, Alexandra Kokoli, Lina Dzuverovic)

An Inventory of Traces: Rethinking public archives and collections beyond the nation/state (Isobel Harbison & Sara Greavu)

Invertebrate Art: Ecologies, Practices, Ethics (Sarah Wade & Pandora Syperek)

Old is New: Classical Reception and Temporalities in Art 1800-Today (Nicole Cochrane & Melissa Gustin)

Painting, Discourse (Matthew Bowman)

Plunder: An Alternative History of Art (Mary-Ann Middelkoop & Elsje van Kessel)

Rethinking Royal Manuscripts in a Global Middle Ages (Jacopo Gnisci & Umberto Bongianino) - Session Sponsored by the International Center of Medieval Art

Roads to Convergence behind the Iron Curtain: Remapping Conceptual Art in the Era of (Post)Socialism (Maia Toteva)

Shōwa Japan and modern European art (Louise Franklin)

This is me. This is also me: The Artist’s Archive as Self-Portrait (Amy Furness & Georgiana Uhlyarik)

Towards an Affective History of Art: Vision, Sensation, Emotion (Emma Barker & Carla Benzan)

Transnationality in the Nineteenth-Century: Decolonising Networks of Exchange, Circulation and Exhibition (Gursimran Oberoi & Sarah French)

Unravelling Modernist Histories: Crafts since the 1800s (Ana S González Rueda & Elisabetta Rattalino)

Unseen Science and the Failure of the Visual (Alexis L. Boylan)

Viral Images: Art and Contagion (Sophie Xiaofei Guo & Andrew Cummings)

Visual Cultures of Protest: Art and Resistance in South Asia (Anisha Palat & Silvia Genovese)


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